Untitled, 2017, Materiality of the Invisible, Marres House for Contemporary Culture










These works  are biofacts and biofictions that arguably refuse to become artifacts. They are made using methyl-cellulose powder, coccolithophore skeletons (in the form of calcite pigment), and seawater from the Zeeland coast (that possibly includes some live coccolithophores at the time to collecting it, for the sake of biofiction we can say it does).

On the gallery floor there is a puddle, or self-contained flood, within the existing Corey McCorkle circle. The circle is used as a template for producing circles of drying/dried methylcellulose film.  Once a month a new sheet is poured and peeled from the floor and adhered to the umbrella structure in the garden outside the gallery space.

The methylcellulose is made using seawater. As each circle is poured, and as it dries, the flows mix the calcite pigment, carried in variable ways around the circle. When dry, the areas that contain calcite are translucent to opaque, and grow crystals from the reaction between seawater and calcite. The resulting umbrella skin filters light in subtle ways.

Depending on humidity and weather conditions, the cellulose umbrella changes over time, if it rains heavily, it is possible that it disappears within hours of installation.  As each new circle of film becomes available it will layer over the one before, possibility accumulating over time. But more likely, not.





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